MULTIPLE EXPOSURES:

This assignment will allow you to shoot and combine imagery using the film camera and the enlarger. Throughout this assignment you will need to consider your subject and compositions. Sketches on drawing paper might give you a starting point. Think of themes or issues that you would like to consider, such as feelings, emotions and your dreams. Combining images will create a unique and original image to convey your thoughts. We use film and not digital because there is more to think about this way; how the lights and darks fit together, how negative and positive works together, where to burn and dodge-- Digital at this stage would be like "cheating", we would loose the experience of how this all works, what works, and why. Digital can cut out time and thought, but I want you to take time to think deeply while you are forming as an artist, you owe this to your development!

There will be three techniques that you will use to create double exposures, and one print for each technique will be due this quarter. These techniques are described below in my video!

Project D

A Silhouette Portrait (Negative "Sandwich")

THE FIRST way of making a double exposure is a process called sandwich negative. This is the easiest way. By selecting two negatives and placing them together in the negative carrier you can create a double exposure print. You must give great consideration to your subjects and compositions, negative and positive areas, and a bit of experimentation.

We will take photos in class using a film camera and class film so you have access to film immediately to experiment with multiple exposures.

5/2014. Photo by Casondra Klein. Class of 2014.

Photo by Alexandrea Shaw, class of 2014.

Photo by Christopher Scavo, class of 2014.

Project C

Two Enlargers, using two negatives + burning and dodging

﻿A second way of creating a multiple exposure ….Doing double exposure with two separate negs is the most difficult, and will require much more work. First, you will select two negs that you would like to combine. Thes could be new film you shot this year or you may use old film from Photo 2. Bring it in so we can look at it. The imagery does not have to be full frame, it is actually easier to work with a partial image. You will need to complete a few rough sketches of what your final composite should be, before you print. This way you will know ahead of time what areas you will need to dodge when printing. When ready, place your first neg into the carrier and project image onto the easel. Make a quick out line of where key features lay in your image. This is important, so don’t forget. Make your test strip as usual. Your first exposure needs to made slightly underexposed, as will the second. Once you have determined the best time for the first neg, then make a test strip for the second. When you have determined times for both images, place your first neg back into the carrier, align it with your sketch and make your exposure on a sheet of photo paper, dodging as necessary. After the timer stops, place a red filter into the filter holder. Turn the timer to focus. Place your sketch over your easel, making sure it aligns with the projected image. Turn off enlarger, remove the first neg and replace it with the second. Make sure the red filter is in place and turn the enlarger on to project the second image. Adjust the height as necessary. Determine what areas will need dodging. You may need to cut a scrap piece of board to help you with the shape you need to dodge. When you are ready, turn off the enlarger, set the timer, and press start. Make sure you dodge the areas you don’t want exposed. After the exposure, process as usual. Keep a list of the many steps you complete. This will help you recreate the image in the future or help you diagnose any errors made.Some helpful information…Try superimposing scenes of nature, for example, a stand of trees from your first neg, and a body of water from your second, can be combined to give the illusion of trees emerging from the water. Look at the work from Antonio Mora, Scott Mutter and Jerry Uelsmann, they have incredible work.

Project B

Shooting for a Surrealistic SCALE ILLUSION ("sandwich" print)

This third technique concentrates on the concept of the relationship of two (or more) subjects or objects, taking two photos leaving space for the other subject, creating two negatives, and sandwiching them together like the first method.

Think of surrealism when you start; real subjects or objects in an illogical situation. Size is going to be played with and Surrealism is a great starting point for this assignment, it allows you inspiration.In the photos above, the mannequin is a 8" tall doll and certainly not taller than our student, which makes for a bizarre juxtaposition.We will take photos in class using a film camera, class film and lighting, so you have access to film immediately to experiment with multiple exposures. I have an assortment of cool objects in the studio, but bring in some small objects if you want to personalize the project or create a deeper meaning to yourself; perhaps a shell, a doll/action figure/toy, teacup, or a fancy shoe? You will photograph these full frame to give the illusion that they are as big or bigger than yourself - essentially a self-portrait with a surreal effect.